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Milled with the utmost care, Fragonard professional oils specifically utilize mono-pigments, a single pigment per color, wherever possible. This allows the artist the widest range of color mixing potential, retaining hue purity and intensity.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
Cobalt Violet is a pure hue that cannot be mixed from other colors. It is cool in its masstone, chemically stable, and semi-opaque. It has a weak tinting strength and is generally offered in a bluish and a reddish-violet shade. Cobalt Violet can be quite expensive, so it is used mostly as a top coat color. It is compatible with all painting media, but its light variety can change in oil form. It grays down considerably when mixed with white. Manganese Violet is a less costly substitute for the bluish variety of Cobalt Violet.
Cobalt Violet has excellent permanence, and its lightfastness makes it more desirable than older organic dye violets.
Cobalt Violet is highly toxic by both ingestion and inhalation, particularly in dry pigment form. However, much of the material presently used to make paints of this color is non-toxic cobalt phosphate.
Cobalt comes from the Middle High German word kobolt, an underground goblin, because miners thought cobalt harmed silver ores. Cobalt Violet was the first real violet pigment and was described by Salvetat in 1859. The light variety of this pigment, developed in Germany earlier in the 19th century, was particularly poisonous due to its arsenic content. Cobalt Violet hues were the only permanent bright violets available to artists until the 1950s.
Quinacridone Magenta is a semi-transparent and powerful bluish red with an impressive mixing range. It makes an excellent glazing color and is one of the bluest of the Quinacridone colors. The pigment's properties vary considerably, depending on how it is ground. Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.
Quinacridone Magenta offers very good lightfastness in most media, but some have argued that it is less lightfast in watercolor form. Although Quinacridone Magenta received only a passing grade of "fair" under ASTM test protocols, other test results have rated the pigment very good to excellent. Transparent reddish violet pigments in general have more problems with lightfastness than any other range of colors. PR122 is often used as the Magenta of CMYK (four color) process printing because it offers a better tradeoff between tinting strength and lightfastness than other pigments in its class.
Quinacridone Magenta has no acute hazards. Overexposure to quinacridone pigments may cause skin irritation. Quinicridone pigments contain a compound found to be a skin, eye, and respiratory irritant.
Quinacridone Magenta came from a red violet aniline dye that was first produced in 1858 by Natanson. It was called Magenta to commemorate a battle in Magenta, Italy. Over time, Magenta became the standard color name for a deep, violet red. Although quinacridone compounds became known in the late 19th century, methods of manufacturing so as to make them practical for use as commercial pigments did not begin until the 1950s. PR122 has become particularly popular in the formulation of Magenta for CMYK process printing.
Acra Red, Quinacridone Violet (PV19), Thalo Red Rose.
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